#its not a topic of discussion

[realsafari]

a nazi with autism is still a nazi

[enden-k]

i know some fuckers reupload my art without a care in the world, im fighting w this for years now and it was a major reason why i deleted my previous art blog and stopped posting art for a long time. i dont hunt the internet to catch everyone tho, even if it pisses me off greatly.

BUT if anyone ever sees my oc art reuploaded, let me know so i can deal with this. one of my biggest fears is people stealing my ocs/worlds or claiming them, i saw that happen to someone once and its scary as hell. i wont tolerate that w my ocs. literally fuck you.

and regarding the AI ask just now; please dont use my OCs for things such as roleplay or anything.

also i rb sm abt it and thoughts its obvious - especially as an artist - what my stance on AI is and what a deep hatred i have for it. do NOT use my things for ANY of that shit.

and, in general while were on the topic of AI bc i see this SO OFTEN: you cant be anti AI and then turn around and use AI writing programs, its all scraped and based on stolen shit. please protect writers as much as artists and VAs.

[tls12lessthan3]

thinking about orvs metatextual engagement with its genre and specifically how that interacts with its women again. kim dokja is a self insert for the reader - what he thinks is largely meant to represent what we think, especially in the beginning before sing shong really fleshes out his character. kim dokja sees the world through tropes, directly acknowledging the genre around him and the cliches we expect e.g. the overpowered mc, the scheming villain, the beautiful heroine.

but a major part of his arc is deconstructing this reductionist view of the world in a way that parallels the author's deconstruction of the genre, and that plays really well with the way orv writes women. yoo sangah is perhaps the best exanple - shes introduced as the heroine, a one-dimensional pretty girl who in any other novel would become kim dokja's love interest. but the authors allow her to be her own character, directly challenging the stereotype of the heroine and calling attention to the genre's typical lack of depth for such a character. i think this undercurrent plays in the background often but really comes to the forefront when yoo sangah reminds kim dokja of her putting pepper in their bosses' coffee, a memory kim dokja had supressed because it didn't fit with the pretty girl persona he made for her.

i interpret that moment as yoo sangah pushing her way out of the mold of heroine often found in these stories, demanding a depth be added to her character, asking kim dokja - and thus the reader - to see her in her entirety, to see the heroine archetype for what she could be. orv is at all times in conversation with its genre, and its simultaneous writing of female characters with agency and depth and acknowledgement of the tropes these women are expected to fulfill is undeniably a part of that. and its a part i enjoy. most of the time.

[csms-jpg]

Consciousness and perception course notes and sketches

[loudgaybug]

I think it's interesting parallels how both 4c and zam have fulfilled the role as builders on the server, but while zam rebuilds spawn and seeks to protect it, 4c is building re:spawn, a spawn that seeks to replace the previous one, one seeks to create alongside destruction, while the other seeks to preserve at any cost, opposing destruction, one is the cycle of preservation in response to destruction while the other seeks to break that cycle, I think its interesting how in lifesteal even building relates to conflict, a conflict of ideology that spills into violence and has a physical impact on the world as building itself becomes a statement

[inksandpensblog]

In the original Lilo and Stitch, there is no difference between Nani's custody of Lilo and what's best for Lilo's wellbeing.

Nani is not equipped to take care of Lilo on her own, and Cobra is right when he says that Nani's need to hold on to Lilo is blinding her to her own shortcomings as a caretaker where Lilo's needs are concerned; but over the course of the movie it's made abundantly clear that, while Lilo may need a better caretaker than Nani is capable of being on her own, she very much also still needs Nani present in her life, as her sister. Taking Lilo from Nani would deprive Lilo of the last remaining person in her life who understands her, and that would be incredibly damaging to any six-year-old child, let alone a possibly neurodivergent one, let alone one who is already grieving the recent death of both parents. Whether Cobra takes Lilo away or lets her stay, either way Lilo only gets something she needs by losing something else that she needs. There is no improvement to be had, only a question of prioritization, and Cobra has different priorities concerning Lilo than Nani does.

Adding Jumba and Pleakley to the household solves this dilemma, because Nani remains Lilo's primary caretaker but now she isn't Lilo's lone caretaker; she no longer has to choose between bringing her sister to work with her, where she may cause trouble, or leaving her sister at home alone without supervision, because now Lilo won't be alone without supervision if she's left at home. This allows Nani to find a good job, and also allows her more quality time with David (whom it's been established she is interested in, but was unable to pursue that interest while being Lilo's lone caretaker).

(I was never into the sequels or the tv series as much as the original movie, but one thing I do appreciate is that they gave Nani a job at a surf-shack. With it being implied in the original movie that Nani possibly set aside competitive surfing ambitions when caring for Lilo became a higher priority to her, it's nice to think that she was at least able to find work in a field that she'd previously found herself in, in a way that allows her to apply and share her knowledge. This is different in the remake, where being a surf-instructor is purely a job for her.)

What's more, not only does Lilo now have multiple capable guardians in her ohana, but she also has a friend in Stitch, someone she can interact with as a social peer now that he's not pretending to be a dog anymore. Stitch also begins helping out around the house, allowing the whole family to spend more quality time together now that the sisters don't need to concern themselves with as many chores anymore.

Nani keeping custody of Lilo was what was best for both of them, even if it wasn't fulfilling all their needs. Taking Lilo away to fulfill the needs that weren't being met wouldn't have helped her more than it would've hurt her, and it would've devastated Nani. The solution was for both of them to find more support, while remaining together.

In the live-action Lilo and Stitch, Nani's custody of Lilo and what's best for Lilo's wellbeing become opposing concerns at the hospital, when the social worker offers Nani an out from the unaffordable medical costs in exchange for having to relinquish custody.

Hear me out...this could've worked. They could've gone this route. It would've been really fucking difficult to do it well, and they probably still would've gotten flak for it, and honestly I'm still not sure it would've been wise to do it in an official remake of Lilo and Stitch when it seems more suited to a deeply personalized transformative alternate-universe fanfic that half the fandom swears by and the other half swears at, but they could've done it.

Just to clarify, though: the way it is, in the movie we got? It didn't work.

This should've been Nani's lowest point in the movie; not morally, but in the hero's-journey sense y'know? Her care for Lilo's wellbeing and her desperation to keep custody of Lilo have been one and the same up to this point, but now they're at odds for the first time ever and now she has to pick one.

It should've felt like a sacrifice, to pick one. It should've felt like a faustian bargain or a deal with the devil or whatever, to have to choose between the impossible options that this social worker is narrowing down her ohana's future to.

I haven't seen the live-action movie myself and tbh I don't want to, so bear with me as I'm mostly going by hearsay. And according to hearsay, what they should've done if they were gonna go this route isn't what they did. The impression I've gotten is that the social worker's ultimatum was portrayed as a blessing in disguise, rather than the tragedy it should've been.

The remake could've gone this route. But it needed to be portrayed as the harsh and tragic thing that it was. It needed to be portrayed as the predatory, manipulative, insidious move on the social worker's part that it was. That's where they should've put the realism they were so concerned about: in the emotions. Stories can be as fantastical as you can or can't imagine, as long as the emotional core remains grounded.

And then, Nani and Lilo should've focused on how they were going to uphold and maintain ohana now that Nani no longer had her custody of Lilo to underscore it with. Nani and Lilo should've be doing everything in their power to make sure that it doesn't end here with this shitty deal that Nani was given no way out of. It should've been the ultimate demonstration to Stitch that little, broken families can still be good, and still be somewhere he can find belonging. When all was said and done, Nani and Lilo and Stitch should've shown us that no, this is not enough to destroy ohana.

Being able to say that ohana transcends geography or space or the legal system or what have you, and being able to actually back it up with actions and demonstrable principles...

idk. I have no experience with the foster system. I'm not Hawaiian. I have no native friends that I'm aware of. All I can really talk about is storytelling. Presentation and narrative themes and such.

I saw another blogger (whom I won't name because I'm not interested in starting a fight or enabling people to gang up on somebody who holds an opinion they take umbrage with) saying that summarizing the ending of the live-action movie as "Nani surrenders Lilo to the state so she can be a strong independent girlboss who follows her dreams and goes to STEM college an ocean away now that she's freed from the burden of a little sister to care for" is a dishonest misrepresentation of the movie, and I see their point.

This blogger also emphasized not only the realism of the situation Nani was put in at the hospital-- of being unable to afford the medical care a loved one is in dire need of, of having to let go of a loved one for their own health and safety --but also the involvement and influence of the social worker in that situation; and I also see their point in saying that too many people are placing all the blame on Nani for her choice, while ignoring the role of the social worker in presenting that choice as Nani's only option.

For all that fans of the original are upset that Nani surrendered Lilo to CPS in the remake, I have noticed that most of their anger seems to be directed at Nani rather than at the CPS agent who basically coerced her into it. I've been guilty of this too.

This blogger rounded out their commentary by sharing how gutted they were by this moment, due to its familiarity when compared to their lived observational experience, and how badly Disney missed the mark if their intent had been to portray CPS in a good light.

Again, I see their point. And they're right, we should be talking about that social worker and her role in Nani's decision more, as well as what she ultimately represents in the thematic conceit of this remake.

But with all that said, I think there's a reason that so many people are coming away from this movie with the reading that Nani surrendered Lilo to the state for college, even if that's objectively not what actually happened. Something went wrong in the storytelling somewhere.

And I think it lies in how the aftermath of Nani's decision to surrender Lilo to CPS is handled by the movie.

Nani should not be going to college overseas when her field of study is taught markedly better in universities that are already local. Nani should not be going to college overseas when those same local universities offer significant financial aid to native Hawaiian students.

Lilo should not be encouraging Nani to leave the island without her. She has no friends, Stitch isn't her peer, and Nani is her last remaining family. Where is the girl who cried when she thought her older sister might trade her for a rabbit?

Nani's shortcomings as a caretaker should not be concerning enough to make losing custody of Lilo a very real possibility if Tūtū was already around consistently enough to be considered a viable foster guardian once Nani has lost custody. Tūtū already replaces Nani in half the scenes anyway; if it's already established that Tūtū being present means Nani doesn't need to be present, then why is Nani's ability to care for Lilo even still under question? Why is Nani still in a position to lose custody of Lilo if Tūtū has already proven capable of providing the support that enables Nani to properly care for Lilo?

Tūtū fostering Lilo should not be treated as it if means that CPS doesn't still have the power to remove Lilo from Tūtū's custody whenever they please, and without any obligation to inform Nani to boot.

The movie chose to have Nani leave the island for college. The movie chose to have Lilo encourage her to do this. The movie chose to have both sisters want something for the elder that would end up with them being further separated.

The movie chose to have both sisters want something for the elder that wasn't framed as a possibility until after Nani surrendered custody of Lilo.

Those details add up. They add up to something outrageous enough to make everyone overlook that the social worker coerced Nani into surrendering Lilo to CPS custody.

Or maybe I shouldn't be talking about things I don't understand. idk

[sonknuxadow]

hey guys look what i found in my drafts. from a few days ago .

[matteos]

[usertoxicyaoi]

found this super interesting. this person below is an acting coach and scriptwriter that's worked on/working on: kinnporsche (2022), only friends (2023), playboyy (2023) and mansruang (2023):

[oifaaa]

Would you rather be british or french

Haven't I answered this before? French the foods nicer the weather's better and it's still apart of the eu

[thatimageoftomscott]

its funny cause its true etc etc etc. x

[plasticbabyart]

Haven't been posting because work (Also catching up on sleep haha) but jammers, someone using tags correctly and sharing a somewhat negative or critical opinion on something you like isn't a bad thing; just scroll? Block? Ignore? Like cmon jammers, ain't no need

[quibbs126]

I just want to ramble about the usage of Takedown in KPDH right now, because personally I found it rather interesting

Since I'm gonna be going over its usage in the movie, spoilers are abound, so I'll keep it under the cut if you don't want to see that

So first we have how it's used in the trailer, in which a snippet is played at the very end, and we're told "featuring 'Takedown' by TWICE". I personally don't really know TWICE, or K-pop in general, I'm more of a casual listener, but I'm given to understand it's at least a fairly popular K-pop group? So you know, I assume it's like when Trolls 3 advertised that they were going to have a new song from *NSYNC in their movie, wildly different movie from this one aside. Well not entirely, since *NSYNC was specifically popular in the 2000s, but you get my drift

And I assumed that like that movie, this song would then turn out to be majorly important in the climax of the movie, like it's the song they use to defeat the villains. That would just make sense, and the name fits with what we've seen of the movie in the trailer

And in the movie itself, Takedown is first conceptualized when the Saja Boys make their threat to the world well known to the girls, and how they're going to beat and expose this new demon boy band at the idol awards. So it's still following in that assumption of the song's use in the movie. And the song is built up to for quite a lot of the movie, it's pretty important

But then, as the movie goes on, with Rumi and Jinu interacting and Rumi starting to change her perspective on demons (as well as connecting it to her own heritage), she becomes increasingly hesitant about all the lyrics in Takedown, and whether it should be what they sing at the idol awards. And in turn, Takedown becomes less positive of a presence in the story, and more foreboding, to the point where they ultimately decide to switch their idol awards song to Golden

And this all comes to a head at the idol awards, where the playing of the song, our first time hearing it in its sort-of-full glory, is an indicator that something is deeply wrong, as Takedown was never supposed to play. And it's Takedown that leads to the 3rd act breakup and low point of the movie, with Rumi being exposed for her patterns Zoey and Mira, and publicly making it seem like Huntr/x has now broken up live on stage, making Saja Boys the winners of the idol awards

And at the end of the movie, the song used to defeat Gwi-Ma at the end isn't Takedown, but This is What it Sounds Like. In fact, the only time we hear Takedown in its full glory is during the credits, and it isn't the girls singing it, just what's being played here. And honestly, I kind of feel like it’s just being played here because it had to be in the movie in full somewhere, like Golden might have been the more fitting end credits song (though I also didn’t watch the credits in full, so maybe Golden shows up later. But still, you get what I’m saying)

Now I can't say why exactly the writers chose to use Takedown, this song made by popular artists and prominently advertised, in this way. I'm not exactly good at the reasoning portion of analysis, just the laying out the facts part. If anyone else has a potential explanation, feel free to leave one in the comments or reblogs

It just find it interesting that it was used in such a way, it sticks out to me

[op-la]

first of all i love your work, your composition and anatomy skills are incredible!!

second thank you for drawing lestat a bit bigger? than louis; i remember when i was drawing loustat i'd make him a few centimeters wider in the shoulders and people would i guess jokingly point out i was 'yaoifying' them and seeing someone else do that makes me realize i wasn't wrong for drawing that

sorry if this is an odd comment, genuinely just like you as an artist <3

Full disclosure before I go in, I AM a fujoshi and this is a yaoi household LOL so I’m not going to deny how that influences my art. However, I am also an artist with a lot of love for the human body and even though my works are more stylized than realistic, I still care a lot about maintaining likeness and recognizability when depicting real-life people. I love drawing the IWTV cast so much because everyone has very distinctive body builds and facial features and it's so fun to play around with shapes and styles when putting the characters together. For Loustat in particular, while JA and SR are around the same height, their builds are quite different. Coupled with their acting choices and how they choose to embody Louis and Lestat, their characters have very distinctive, yet harmonizing, visual identities. I guess one way to put it simply is that they have very good character design lol (the whole cast of IWTV could make for a good exercise in character design and building a character lineup tbh haha).

I've seen in passing this conversation about insisting that the characters (Loustat in particular) be drawn similarly in build, and quite frankly, I just don't get it. You have a group of people with different body shapes and already interesting visual languages built in, why would you want to flatten that out by drawing everyone the same? Isn't that just same-face syndrome but for bodies? Idk, it just feels boring to me.

All that being said, my stance on fanart is that it should be a space for creativity and exploration. As long as you are aware of the context of the work and respectful of the subject you are depicting, I feel like people shouldn’t be made to feel “wrong” just because they choose to portray a character in their own interpretation. Ultimately we are here to have fun and play toys lol please just be nice and respectful to one another.

[be-it-so]

I love that Odysseus doesn't really change during all of his (mis)adventures. When he comes back after all these twenty years, he is still the same person he was when he left.

The only real change happening to him during these years is that he progressively becomes more and more tired.

[floatingonapaintedsky]

If you're reading/watching media where the major themes being explored are abuse, trauma, structural violence and exploitation, which includes sexual violence, and you come out of it thinking the only reason the creator included any of it was bc he's a perv then idk what to tell you.